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拍品專文
Probably datable to around 1639-40. In the 1963 catalogue, the present drawing was compared to a study formerly in the collection of E. Wauters (O. Benesch, The Drawings of Rembrandt, London, 1973, II, no. 386, fig. 465).
Sumowski argued in 1981 that the drawing was in fact by Arent de Gelder, drawing stylistic comparisons with two sheets of studies in the Museum Boijmans Van Beuningen in Rotterdam (Sumowski, op. cit., nos. 1053x and 1058x) and also with the Oriental seated, which was in the Woodner Collection (Sumowski, op. cit., no. 1055x). He also noted the presence of the inscription 't/' at the upper right corner of the sheet, which also appears on other drawings by followers of Rembrandt, such as Abraham Furnerius's Idealized mountain landscape with arched bridge in the British Museum, London (Sumowski, op. cit., no. 1013xx). This appears to be a collector's notation, although the identity of that collector has not yet been established; Sumowski notes that it is not the monogram of Rembrandt's son Titus van Rijn (1641-1668), as was once erroneously believed.
Sumowski argued in 1981 that the drawing was in fact by Arent de Gelder, drawing stylistic comparisons with two sheets of studies in the Museum Boijmans Van Beuningen in Rotterdam (Sumowski, op. cit., nos. 1053x and 1058x) and also with the Oriental seated, which was in the Woodner Collection (Sumowski, op. cit., no. 1055x). He also noted the presence of the inscription 't/' at the upper right corner of the sheet, which also appears on other drawings by followers of Rembrandt, such as Abraham Furnerius's Idealized mountain landscape with arched bridge in the British Museum, London (Sumowski, op. cit., no. 1013xx). This appears to be a collector's notation, although the identity of that collector has not yet been established; Sumowski notes that it is not the monogram of Rembrandt's son Titus van Rijn (1641-1668), as was once erroneously believed.